Elvis hadn't performed live in Memphis since 1961, but when he returned 13 years later, he sold out the Midsouth Coliseum five times. On March 16, 1974 he held two shows and returned for another pair of concerts on the next day. After performing in Richmond and Murfreesboro the king finally came back to his hometown on March 20th to close the tour with another show at the Midsouth Coliseum in front of another 12,600 people.

Because the live albums sold better than the longplayers with studio material, it was decided to tape the final concert for an album called "Elvis Recorded Live On Stage In Memphis" It was certified with a Gold Award and the king's performance of "How Great Thou Art" won him another Grammy. Back in 1974 several tracks were left out to fit the show on a single vinyl disc. However, in 2014 Sony Music Entertainment released a "Legacy Edition" of the album, which includes a complete, remastered and remixed version of show as well as a mono recording of the concert in Richmond.

I was happy with the "Legacy Edition" and didn't saw the need for an improvement, but I have to admit, that Matt Ross-Spang managed to do the trick. He put the focus on the band and created a crispy, punchy mix. Somehow the whole thing sounds more lively and appears to have more drive. So this incarnation is the ultimate one so far.

For the fifth time 12,000 fans gather in the Midsouth Coliseum to experience their idol in his hometown. The orchestra opens with an excerpt of "Also Sprach Zarathustra", then the band takes over with the "Opening Riff" and there he is: Elvis Presley. He's wearing the Arabian Suit, a costume he had ordered for the "Elvis Summer Festival 1973". Charlie Hodge hands him his guitar and the show is underway.

The king and his crew are running at full throttle. After the song is finished, Elvis jokes a bit with the audience.

After a few "wells" the king starts "I Got A Woman". It's a dynamic performance, quite comparable to the one in "Elvis On Tour". This time JD Sumner demonstrates his bass voice twice, which takes a bit of the pace away. Afterwards Elvis welcomes the audience.

The arrangement of the ballad hasn't changed since the release of "Elvis As Recorded At Madison Square Garden" (1972) and "Aloha From Hawaii Via Satellite" (1973). But here in Memphis Elvis appears more relaxed and even jokes with his entourage during the performance.

The SUN classic is the first highlight of the evening. During the chorus Elvis uses his voice to its full extend and effortlessly blows the roof off.

Elvis presents one of his biggest hits in highspeed mode. It hasn't much to do with the original recording, but it matches the tempo of the show and therefore is ok.

It's been a year since the king had scored a top 20 hit with "Steamroller Blues". Today's performance is much better. His voice is stronger, he sings with more power and is obviously enjoying what he's doing. Great!

Elvis doesn't sound nearly as motivated here, but the presentation is ok and he causes shrieks by throwing scarfes into the audience.

Another routine performance of another oldie. However, the ladies don't care about the performance itself and scream their lungs out. It's Elvis, it's kisses and it's scarfes. That's enough.

Just like during the "Aloha" show Elvis sings a medley of "Long Tall Sally" and "Whole Lotta' Shakin' Goin' On". Compared to the television concert he sounds more energetic today and has enhanced the performance with "Your Mama Don't Dance", "Flip, Flop And Fly", "Jailhouse Rock" and "Hound Dog". At the end he shakes to the brass sounds of the Joe Guercio Orchestra and comments "We were lucky, we ended all together". In the 1950s he certainly wouldn't have become the rock'n'roll king with a performance like this, but it's fun and therefore ok.

The classic from the album "Elvis Is Back!" is used by the king to drive the ladies nuts with his leg movements. He obviously enjoys the performance as much as the audience does and clowns a bit.

Compared to "Elvis As Recorded As Madison Square Garden" the orchestra is more involved and what once has been a bass solo is now played by an electric guitar. In total the new arrangement is less punchy and the king also moves less then a few years before. But it's still a good and entertaining performance.

Now it's J.D. Sumner's time to shine, because the legendary bass singer takes over the lead vocals. Elvis can only be heared on the chorus, when he joins The Stamps Quartet. This track certainly was an incentive to buy the album, because the king had never recorded it before.

Another religious song follows. The hymn is arranged in more bombastic style than on Elvis' second gospel album and also offers the singer more opportunities to display his majestic voice. The audience is so enthusiastic, that the king spontaneously repeats the last part of the song. A year after the release of "Elvis Recorded Live On Stage In Memphis" the Academy Of Recording Arts & Sciences honored this performance with a Grammy.

Elvis doesn't perform his last number one hit as powerful as he had done back in 1969/70, but he presents it nicely and certainly puts more effort in "Suspcious Minds" than he had done the previous year during the "Aloha" show.

Elvis introduces the members of his group and also includes some backstage members and sound technicians. He is obviously in good mood and jokes around a bit.

As he had done in Vegas, Elvis announces "I Can't Stop Loving You" and starts to sing "Blueberry Hill" instead. He fools around with the lyrics of Fats Domino's hit and delivers a powerful, very lively rendition of "I Can't Stop Loving You".

When the concert took place, nobody knew Elvis' cover version of "Help Me". By the time the live album was released, the studio recording was known from the flipside of the king's top20 hit "If You Talk In Your Sleep". Elvis starts the song twice, because he was not in sync with harmony vocalist Charlie Hodge. To the amusement of the band and the audience he even repeats his introduction.

Even though "An American Trilogy" still sounds impressive in places, it has lost some of its flair. Compared to "Elvis As Recorded At Madison Square Garden" and "Aloha From Hawaii Via Satellite" the king has increased the tempo and also doesn't sing as accurate as he once had done.

This is the third new song of this album, at least new from Elvis. He presents the country pop with enthusiasm and it's obvious, how much he likes songs of this kind. The king even gives an encore and repeats the last part of the tune.

Now Elvis returns to the good ole' days and presents another classic. At times it sounds like a jam based on "That's All Right" and everyone on stage obviously has fun. When the instrumental part doesn't work out as planned the king changes the lyrics and sings "...the band I knew was gone".

Another track from 1956 follows, this time executed in perfection. It's very reminiscent of the version from "Elvis On Tour", at the end the king also can be heared saying "one more time" and repeating the last verse of the song.

The houselights are switched on, then Elvis sings "Funny, How Time Slips Away". He toys a bit with the finale and heats up the audience some more.

The king quickly says goodbye and starts to sing "Can't Help Falling In Love". The band takes over with the "Closing Riff", Elvis takes a bow and leaves the stage. Al Dvorin has changed his typical sentence to "Elvis has left for Graceland" and doesn't forget to tell the crowd, that this show has been recorded.